Style Voice Optimizer (SVO)Instruction Manual

Copyright 2015

KBD-InfinityPO Box 13595, Albuquerque, NM 87192 U.S.A.

Telephone: +1-505-220-3975E mail: info@kbd-infinity.com

Internet: http://www.kbd-infinity.com

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Contents

1 What SVO does 3

2 SVO interface and controls 4

3 Change a channel voice 5

4 Save a modified style 8

5 Yamaha style files 95.1 MIDI section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95.2 CASM section . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115.3 OTS, MDB and MH sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

6 MIDI voice settings 12

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Figure 1: SVO main control window.

1 What SVO does

With the Style Voice Optimizer (SVO), you can fine-tune the instrumental voices of accom-paniment styles to match the properties of your keyboard or synthesizer. To understand thesignficance, we need to review some properties of styles. Styles are the built-in accompanimentsincluded on keyboards from Yamaha, Korg, Roland, Casio and other manufacturers. Style filescontain sections of MIDI information: introductions, endings and main sequences (that aregenerally played as loops). The performer or a sequencing program like the AccompanimentMachine controls the harmony and arrangement of sections to give the sense of a backupgroup. The judicious use of styles can turn a simple tune into a professional-sounding piece.

Styles in the Yamaha format are the most common types. Tens of thousands of stylescreated by Yamaha or independent developers are available in the form of binary files for freedownload or purchase on the Internet. These files may be loaded directly on Yamaha keyboardsto supplement the internal set. With a program like the Accompaniment Machine, you canemploy Yamaha-format styles with keyboards or synthesizers from any manufacturer.

A style may include one or more percussion channels and up to seven pitched channelsrepresenting different instruments or instrumental groups. MIDI commands in style files setthe voices (or patches) for the different channels (e.g., grand piano, flute, tenor saxophone,marimba,...). These settings are deeply embedded in the binary file, and it would be difficult (ifnot impossible) for a performer to change them. Which brings us to the function of the StyleVoice Organizer. With SVO, you can experiment with and modify MIDI voice settings (e.g.,instrument type, resonance, timbre, volume,...) for individual style channels. These changesmay be saved in a new style file. Why is this capability important?

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MIDI voice messages are suggestions to keyboards, synthesizers and virtual instruments.No two devices respond with exactly the same sound. Therefore, a style that soundedterrific on the arrangers keyboard may sound quirky or grating on yours. Tuning thevoice settings and equalizing the channel volumes can make a major difference in thesound quality of styles.

Styles for high-end Yamaha keyboards generally use advanced XG voice settings1 Thesesettings may not be available on moderate-price Yamaha keyboards or those of othermanufacturers. The result is that some channels may be missing or have a strange sound.By changing the bank and other parameters, you can make any style file sound perfecton your keyboard.

Styles are musically conservative they tend to support familiar musical genres withconventional orchestrations. With SVO, you can experiment with instrument groupingsto make your music more edgy or to achieve a distinctive sound.

In summary, the ability to control the voices of style files is like expanding your style collectionby an order of magnitude. With a little effort, you can come up with just the right sound forany occasion or song.

The first part of this manual describes the functions and controls of SVO. The second partreviews the fundamentals of Yamaha style files and MIDI voices. This material can help youuse SVO more effectively. Chapter 2 describes how to load and to preview a style file andintroduces the SVO interface. Chapter 3 describes how to change the voice of one or morechannels while Chap. 4 covers how to save the modifications in a new style file. Chapter 5reviews characteristics of Yamaha style files while Chap. 6 summarizes MIDI commands to setsynthesizer voices.

2 SVO interface and controls

Figure 1 shows the SVO main window. The first activity is to set the MIDI output portfor playing the style (controls at upper left). When you first run the program, it picks thedefault Windows MIDI simulator. Before modifying styles, you should direct the SVO outputto your synthesizer or keyboard. Make sure that the keyboard is turned on and connected tothe computer. Then click Change port to bring up the dialog of Fig. 2. Select the desired ouputport in the listbox and then click OK. SVO will remember and apply this choice the next timeyou run the program as long as the device is available.

Use the Load style control to get started. The dialog shows available files with the extensionSTY along with the following alternative extensions: BCS (Basic), PRS (Professional), SST (Ses-sion) and PCS (Piano combo). All styles have the same format, regardless of the extension. Theprogram can load styles in both the old (SFF1) and new (SFF2) formats. If the GM compliantbox is checked, SVO zeros any bank parameters (Chap. 6) in the definition of channel voices.This is a useful option for styles designed for high-end Yamaha workstations (e.g., PRS styles).In this case, the bank settings may not be supported on your keyboard or synthesizer.

1Well discuss the meaning of bank parameters in Chap. 6.

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Figure 2: Dialog to set the MIDI output port.

When the style is loaded, SVO shows the time signature and default tempo (in quarternotes/minute). The activation status of the button array at left-center shows which sections areincluded in the style file. As an example, the loaded file in Fig. 1 contains the full complementof sections except Fill in AB. Left click a button to select a section. The box to the right showsthe number of measures of the current section. The value is the loop length of theMain sectionsand the measures in Intro and Ending sections, important for synchronzing performances. Fillin sections always have one measure.

The list box at right-center gives a summary of voice information for the style channels.Note that styles are limited to channels 08h through 0Fh2, leaving channels 00h through 07hopen for other functions (e.g., melody, metronome,...). Information includes the General MIDIprogram number (type of instrument), the bank MSB and LSB numbers (refinement of theinstrument type), the General MIDI name and the playback status.

Click the Start button to listen to the currently-selected section. The section loops if theCycle box is checked. You can Pause or Stop the playback and set the volume. Right-click ona section button to select the section and start playback immediately. The checkboxes on theright-hand side of the voice list determine whether the channel is included in playback. TheAllOn and AllOff buttons check or uncheck all included channels.

As an example, the simplest modification you can make to a style file is to change the defaulttempo. Load a style, enter a new value in the Tempo box, check the sound and then use theSave style control to create a new file (see Chap. 4).

3 Change a channel voice

The primary function of SVO is refining or changing the instrumentation of one or more stylechannels. Open the voice-tuning dialog of Fig. 3 by double-clicking a row in the Channel voiceslistbox. It is important to recognize that styles contain two types of channels: drum set andpitched. For example, Fig. 1 shows that Channel 09h represents a drum set and that Channels08h, 0Ah-0Fh represent different pitched instruments. By convention, Channel 09h alwaysrepresents percussion and other channels are drum sets if MSB = 126 or 127.

2The channel number convention in this manual follows the actual values used in programs: 00h through

0Fh. Some references number the channels 01 through 16

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Figure 3: Dialog to tune a channel voice

Well start by discussing pitched-instrument channels. When you make a change, the stylewill play the same notes but with a different instrument (i.e., synthesizer setting). You canmake three types of changes within the dialog:

Balance the channels by changing the Volume of individual instruments.

Change the instrument type (GM instrument, Bank MSB, Bank LSB)

Fine-tune the synthesizer sound (Reverb, Chorus, Attack time,...)

The simple process of changing the relative volume levels of channels can make a big differencein the quality of the style sound. Use the Volume slider the raise or lower the level of thecurrent channel. Use the feature, for example, to soften an overly agressive percussion track.

This is a good point to discuss the operation of the sliders in Fig. 3. Each slider correspondsto a particular MIDI control. For example, the volume slider determines the value of a MIDIchannel volume message

B0h + ChanNo, 07h, VLevel

When you exit the dialog by clicking OK, SVO sends a stream of MIDI messages to updatethe synthesizer settings of the output device. The changes will appear when you play a section.It is important to note that styles do not necessarily set every possible synthesizer control.Furthermore, your synthesizer or virtual instrument may not respond to several of the controls inFig. 3. A value of -1 in a box means that SVO will not send the corresponding control message.

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Move a slider all the way to the left to deactivate a control. For example, if Reverb = 1, thenSVO sends no message and the synthesizer will use its default reverbation setting. On the otherhand, Reverb = 0 turns reverbation off (e.g., the sound in an open field) if the output deviceresponds to the message. Use the Reset effects button to deactivate all synthesizer controls.

Next, consider changing the instrumental voice of the channel. The popup menu GM in-strument is the primary control. When BankMSB = 0 and BankLSB = 0, the General MIDIstandard requires that all synthesizers produce a sound like the named instrument (e.g., 041Viola, 068 Oboe, ...). Therefore, with the bank parameters set equal to zero, there will be nomissing channels and the sound will be similar to that intended on GM compliant devices3.

Set values for the bank parameters if you want to go beyond basic sounds. Informationon the available voices is generally contained in a data sheet supplied with your keyboard orsynthesizer. For example, the Voice List table in the Data List document for the Yamaha PSRE423 defines the voice Warm strings as:

GM instrument = 49, Bank MSB = 0, Bank LSB = 40

The collection of thirteen sliders can be used to invoke most of the MIDI voice control mes-sages. Again, the response varies with the output device. A general-purpose virtual instrument(soundfont) may respond to basic settings (resonance, chorus,...) or none at all. Entry levelYamaha keyboards implement controls on the left-hand side of the dialog.

As an alternative to tuning each voice, you can use a standard voice set for your keyboardby loading a MIDI Voice File (MDV). These files may be built in the Voice Laboratory of theAccompaniment Machine or created from a CakeWalk or Sonar INS file. Click the Loadvoice file button and choose a file with suffix MDV. The program loads the data and displaysa list of available voices in the box on the right (Fig. 3). Double-click an entry to transferavailable parameters to the voice controls.

To conclude, we shall consider drum set channels. Percussion sounds have such a boardfrequency range that pitch is indistinguishable. Therefore, the component of MIDI NoteOnmessages that normally gives note pitch is used to specify the type of percussion sound (e.g.,bass drum, ride cymbal, rimshot, bongo, hand clap,...). Synthesizers may support several drumkits, where a kit is a mapping of pitch numbers to percussive sounds. The setting for thestandard drum kit supported by all GM complaint devices is

GM instrument = 0, XG bank MSB = 127, XG bank LSB = 0

As an example of an alternate, the Symphonic Kit on a Yamaha PSR E423 is specified by

GM instrument = 48, XG bank MSB = 127, XG bank LSB = 0

Changing the drum kit of a percussive channel can make a big difference, but there is noguarantee that the sound will be acceptable. The best approach is to experiment. To makecomparisons, it may be helpful to deactivate playback on the other channels. Finally, note thatthe MIDI controls such as Reverb or Attack time may affect the drum sounds.

When settings are complete, exit the dialog by clicking OK. SVO changes the channel voicevalues in memory and updates the settings of the output synthesizer. Click Cancel to exit thedialog with no changes. After previewing the sound, you can return to the previous settingwith the Undo last change command. Click the button multiple times to move back in thehistory of changes. The Redo last change button becomes active when the Undo last changebutton has been used.

3All Yamaha keyboards are GM complaint.

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4 Save a modified style

As discussed in Chap. 5, the style file format defined by the Yamaha Corporation is needlesslycomplex. When SVO reads a style file, the first step is to convert the information to the simple,documented Pure Style format. Pure Style preserves the musical information but is easier tohandle in software and has shorter file lengths. The channels displayed in the Channel voiceslistbox are those of the Pure Style form rather than the set of the original style. The Pure Styleformat is described at:

http://kbd-infinity.com/kbd-infinity-blog/fixing-the-yamaha-style-format-part-2/

SVO saves information in Pure Style format. The resulting files may be used in software likethe Accompaniment Machine or loaded directly on any Yamaha keyboard. When you havecompleted voice or tempo modifications, click the Save style button. The program suggests aname following the Pure Style convention:

DescriptiveText_Tempo_TimeSig_ps.sty.

The text is any set of characters or numbers with no punctuation marks. The quantity Tempo isan integer number (quarter notes per minute). TimeSig gives the time signature in the formatNumerator-Hyphen-Denominator, such as 3-4, 4-4 or 9-8. The characters ps designate PureStyle. The extension is always STY. Heres an example:

AngelsWeHaveHeardOnHigh01_85_4-4_ps.sty.

Two checkboxes in the SVO interface (Fig. 1) affect the output file format:

GM compliant

Keyboard compatible

The GM compliant option zeros the bank MSB and LSB parameters of MIDI voice commands.Do not use this option if you have defined optimal bank settings for your keyboard or synthesizer.When Keyboard compatible is checked, SVO appends a dummy CASM section (Chap. 5) to thestyle. Although the section performs no function, it is a necessary add-on for compatibility ifyou are going to load the style directly on a Yamaha keyboard. It is not required if you areusing the Accompaniment Machine or other performance software.

Sometimes you may find a style where the volume is much louder or softer than the levelof other styles in your collection. In this case, you can use Scale style volume slider to make aproportional change to the volumes of all channels. Move the slider right to increase the volumeand left to decrease it. Preview the new level by playing one or more sections. The changesare included when you save the style. Click the Default button to restore the original volumelevel.

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5 Yamaha style files

Styles are the great accompaniments available on Yamaha keyboards. The keyboard contains abasic set of internal styles, and it is possible (with some effort) to install a few more by loadingstyle files. Tens of thousands of style files from Yamaha, independent musicians and conversionsfrom other manufactureres are available for download on the Internet.

Theres a lot of information in a style file, much of it useful. A complete description of theSFF1 file format is given in P. Wierzba and M. Bedesem, Style Files - Introduction and Details :

http://wierzba.homepage.t-online.de/stylefiles_v101.pdf

A style file is divided into sections, divisions with different types of information: MIDI, CASM,OTS, MDB and MH. Only the MIDI section is required. The other sections were added over time.This section does not give a full account of the style format - instead, it will touch on basicinformation helpful for using SVO.

5.1 MIDI section

The MIDI section is straightforward . It has the format of a standard MIDI file with theaddition of markers (non-MIDI events) to delineate the style sections. The following sectionsmay be included:

Intro A, Intro B, Intro C

Main A, Main B, Main C, Main D

Ending A, Ending B, Ending C

Fill in AA, Fill in AB, Fill in BB, Fill in BA, Fill in CC, Fill in DD

Styles usually do not contain all sections.Sections of the type Intro are intended to play once and then to segue into a Main section.

The Main sections cycle continuously pending a user signal. An Ending plays once and thenstops the sequence. Harmonic variations introduce variety when playing Main sections. Thereare also several variants of each type of section. Generally, the accompaniment becomes moreintense (e.g., richer orchestration, more complex rhythms,...) proceeding from Main A to MainD. The Fill In sections provide transitions between the Main variants. A typical song mayfollow the sequence IntroA Main A Fill In AB Main B Ending B. A style sequencestarts when the user presses a key combination that signals the harmonic root and chord typeto be applied. As the song progresses, the player presses different key combinations to signalchanges of harmony and control keys or buttons to signify style-section shifts. With a goodchoice of styles and sections, the end result is a good approximation to a backup band.

Figure 4 shows a sample of a MIDI section displayed by our Style Dissector program. Ifyou play a style file on a standard MIDI player, it runs through the components in the orderthey appear in the file and ignores the markers. A dedicated style player makes use of themarker information (for example, to determine whether to repeat a component or play it once).A standard style file follows two conventions:

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Figure 4: Style Dissector display example a portion of the MIDI section.

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Rule 1. Only upper MIDI channels are used for the style, leaving the lower channels free formelody voices. The channels have the following functions:

08h: Sub-rhythm. This channel is often used for supplemental percussion instruments,although it could be set up for a pitched instrument.

09h: Rhythm. The MIDI convention is that channel 09h is used only for percussion andis always associated with a drum set.

0Ah: Bass notes. Instruments like a string bass or tuba.

0Bh: Chord (1). Polyphonic instruments to create harmony, like a guitar or piano.

0Ch: Chord (2). A second polyphonic instrument.

0Dh: Pad. Usually a floating voice like strings or a choir.

0Eh: Phrase (1). A melody instrument, usually in introductions and endings.

0Fh: Phrase (2). A second melody instrument.

Rule 2. The pitched-instrument information should be in the key of C and suggest a CMaj7chord.

Style replication is easy for files that follow this convention. A computer program or key-board processor need only play or repeat MIDI components as necessary, making the followingsmall changes in response to keys below the split point pressed by the performer:

Change selected notes in the chord channels to change the chord type (major, minor,diminished,).

Add or subtract an offset for all notes in pitched channels to change the chord base.

Pure Style files, which follow this convention, have a good sound when played by a standardMIDI player. On the hand, general style files may often make discordant sounds. Which bringsus to the next section.

5.2 CASM section

This section allows style creators to bend the rules. The most important information is channelredirection. Notes and controls in the MIDI section may be in any MIDI channel, but must beredirected to the standard style channels. There is also fine tuning information for chords andmany other details on reproduction logic. For example, some channels may suggest a minorchord rather than Maj7, and should be used only in certain circumstances. Other channels maynot be in the key of C and must be corrected by the software.

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5.3 OTS, MDB and MH sections

The letters OTS stand for One-Touch Setting, detailed voice and style setups in response toone-touch keys on high-end Yamaha keyboards. The information is machine-specific. Theletters MDB stand for Music DataBase. The text information tells which song (or songs) maybe appropriate for the style. The information coordinates with the Music Finder feature onsome Yamaha keyboards. The information is often dated or subjective. Finally, nobody seemsto know what purpose (if any) the MH section serves. These sections are not included in PureStyle files.

6 MIDI voice settings

The MIDI section of a style file contains two classes of information:

Setup information.

Performance information.

The performance information consists mainly of NoteOn and NoteOff signals, sent at theappropriate times. In contrast, setup information is sent before the style starts or when there isa section change. An important component of the setup is the definition of voices. For example,if a NoteOn signal is sent to MIDI channel 2, should the resulting sound approximate a violin,a clarinet, a tuba,...? In the absence of any setup information, every channel sounds like anacoustic piano, the default on most keyboards.

MIDI communication is divided into 16 channels each channel can represent a differentmusical instrument (voice). Channels 08h through 0Fh are set aside for styles. Voice settingson a MIDI synthesizer such as a keyboard are sometimes called patches. The term is a holdoverfrom the days of analog synthesizers. A collection of oscillators, filters, envelope generators andother equipment was physically patched together to produce a specific, complex audio signal inresponse to a MIDI note number. There was a revolutionary change with the advent of digitalsynthesizers. Thousand of dollars worth of interconnected electronic devices could be replacedwith a set of numbers (parameters) applied to wave-generation algorithms. An inexpensivekeyboard could easily hold parameter sets for thousands of patches.

With an effectively infinite number of possibilities, some standardization was essential. Inparticular in order to circulate standard MIDI and style files, it was necessary that all syn-thesizers produced about the same instrumental sounds. The requirement lead to the generalMIDI (GM) convention, a set of 128 standard instrument sounds that a synthesizer should becapable of reproducing. If so, the synthesizer is GM compliant. Table 1 lists the options. Thecomputer communicates what instrument sound should be approximated by the synthesizer ina particular MIDI channel by sending the following two-byte message:

C0h + ChanNo, GMCode

The message is called a program command. The channel number covers the range ChanNo =00h to 0Fh, so the first number may vary from C0h to CFh. The quantity GMCode is the numberin Table 1 and covers the range 00h (0) to 7Fh (127). At a minimum, the setup transmissionconsists of program commands for each of the channels used in the song. Finally, note thatthere is considerable variation between synthesizers in the quality and characteristics of the

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standard instrumental sounds, so the audio signal generated from a MIDI file will differ on eachdevice.

During setup, the computer can also send control change information to fine-tune the voicecharacteristics. For example, we could set the reverberation (or depth) level. Reverberationdetermines the level of multiple reflections of sound (echos) in the virtual performance space.A value of 00h corresponds to open space space or an anechoic chamber while the maximumvalue 7Fh corresponds to a closed space with hard walls. The computer sends the followingthree-byte MIDI message:

B0h + ChanNo, 5Bh, Reverb (00h to 7Fh)

The first byte, B0h to BFh, indicates that control information follows for the MIDI channel. Thesecond byte shows the type of control information the number 5Bh indicates reverberationlevel. The final byte is the value. With SVO, you can set values for all standard MIDI controls(Fig. 3). Note that some of the controls may not be recognized by your synthesizer. In thiscase, the device ignores the command and uses a default value.

Digital synthesizers can produce thousands of instrumental sounds, far more voices than the128 of the general MIDI convention. Bank parameters allow you to access the full set of voicesavailable on your keyboard. In the convention, voices are arranged in banks with a maximum of128 entries. The bank number (a 14 bit quantity) is specified by two seven bit numbers: MSBcontains the top 7 bits and LSB contains the lower 7 bits. The maximum number of voices ona synthesizer that supports the XG convention is (128)3 = 2, 097, 152. In practice, the numberof available synthesizer voices is much smaller.

The drawback of banks is that the voices are not standardized between manufacturers andmay even differ between keyboards from the same manufacturer. Therefore, voices that youcreate with bank parameters may be appropriate only for your keyboard. This is the reasonthat most of the MIDI files you download on the Internet use only GM voices.

If your goal is to perform on your keyboard, bank voices are a good option if you know thecorrect parameters. These may be listed in the reference material supplied with the device. Forexample, the Yamaha PSR E423 supports 700 voices, with bank parameters given in the DataList manual. The setting for the ChristmasBel voice,

GM instrument = 098, MSB = 000, LSB = 067,

gives a warm bell sound. In most cases, if a synthesizer does not support a bank voice, it willsubstitute the general MIDI voice. Manufacturers usually define bank voices so that they soundsimilar to the corresponding GM voice. In the example, GM voice 098 is FX 3 (crystal), closeto ChristmasBel. Therefore, bank voices may have an acceptable sound on different keyboards.

The bank parameters can be used to make rhythm (percussive) sounds on your keyboard.Such sounds have a broad spectrum without a well-defined pitch. Rhythm sounds are a key com-ponent of most styles by convention, they are transmitted over MIDI channel 09h, althoughother channels may be used by setting Bank MSB = 126 or 127. Because pitch information isnot required, the note value in NoteOn and NoteOff MIDI messages is used to determine thetype of drum sound. Like the general MIDI instrument voices, there is a set of general MIDIpercussion sounds recognized by all synthesizers that support the GM standard. The optionsare listed in Table 2. To illustrate, if a synthesizer receives a NoteOn signal on MIDI channel09h with note value 39h, it produces the sound of a hand clap.

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Table 1: GM Voices

000 Acoustic Grand Piano 043 Contrabass 086 Lead 7 (fifths)

001 Bright Acoustic Piano 044 Tremolo Strings 087 Lead 8 (bass + lead)

002 Electric Grand Piano 045 Pizzicato Strings 088 Pad 1 (new age)

003 Honky-tonk Piano 046 Orchestral Harp 089 Pad 2 (warm)

004 Electric Piano 1 047 Timpani 090 Pad 3 (polysynth)

005 Electric Piano 2 048 String Ensemble 1 091 Pad 4 (choir)

006 Harpsichord 049 String Ensemble 2 092 Pad 5 (bowed)

007 Clavinet 050 Synth Strings 1 093 Pad 6 (metallic)

008 Celesta 051 Synth Strings 2 094 Pad 7 (halo)

009 Glockenspiel 052 Choir Aahs 095 Pad 8 (sweep)

010 Music Box 053 Voice Oohs 096 FX 1 (rain)

011 Vibraphone 054 Synth Choir 097 FX 2 (soundtrack)

012 Marimba 055 Orchestra Hit 098 FX 3 (crystal)

013 Xylophone 056 Trumpet 099 FX 4 (atmosphere)

014 Tubular Bells 057 Trombone 100 FX 5 (brightness)

015 Dulcimer 058 Tuba 101 FX 6 (goblins)

016 Drawbar Organ 059 Muted Trumpet 102 FX 7 (echoes)

017 Percussive Organ 060 French Horn 103 FX 8 (sci-fi)

018 Rock Organ 061 Brass Section 104 Sitar

019 Church Organ 062 Synth Brass 1 105 Banjo

020 Reed Organ 063 Synth Brass 2 106 Shamisen

021 Accordion 064 Soprano Sax 107 Koto

022 Harmonica 065 Alto Sax 108 Kalimba

023 Bandoneon 066 Tenor Sax 109 Bagpipe

024 Acoustic Guitar (nylon) 067 Baritone Sax 110 Fiddle

025 Acoustic Guitar (steel) 068 Oboe 111 Shanai

026 Electric Guitar (jazz) 069 English Horn 112 Tinkle Bell

027 Electric Guitar (clean) 070 Bassoon 113 Agogo

028 Electric Guitar (muted) 071 Clarinet 114 Steel Drums

029 Overdriven Guitar 072 Piccolo 115 Woodblock

030 Distortion Guitar 073 Flute 116 Taiko Drum

031 Guitar Harmonics 074 Recorder 117 Melodic Tom

032 Acoustic Bass 075 Pan Flute 118 Synth Drum

033 Electric Bass (finger) 076 Blown Bottle 119 Reverse Cymbal

034 Electric Bass (pick) 077 Shakuhachi 120 Guitar Fret Noise

035 Fretless Bass 078 Whistle 121 Breath Noise

036 Slap Bass 1 079 Ocarina 122 Seashore

037 Slap Bass 2 080 Lead 1 (square) 123 Bird Tweet

038 Synth Bass 1 081 Lead 2 (sawtooth) 124 Telephone Ring

039 Synth Bass 2 082 Lead 3 (calliope) 125 Helicopter

040 Violin 083 Lead 4 (chiff) 126 Applause

041 Viola 084 Lead 5 (charang) 127 Gunshot

042 Cello 085 Lead 6 (voice)

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Table 2: General MIDI percussion sounds

Note Drum sound Note Drum sound

35 Bass Drum 2 58 Vibra Slap36 Bass Drum 1 59 Ride Cymbal 237 Side Stick/Rimshot 60 High Bongo38 Snare Drum 1 61 Low Bongo39 Hand Clap 62 Mute High Conga40 Snare Drum 2 63 Open High Conga41 Low Tom 2 64 Low Conga42 Closed Hi-hat 65 High Timbale43 Low Tom 1 66 Low Timbale44 Pedal Hi-hat 67 High Agog45 Mid Tom 2 68 Low Agog46 Open Hi-hat 69 Cabasa47 Mid Tom 1 70 Maracas48 High Tom 2 71 Short Whistle49 Crash Cymbal 1 72 Long Whistle50 High Tom 1 73 Short Giro51 Ride Cymbal 1 74 Long Giro52 Chinese Cymbal 75 Claves53 Ride Bell 76 High Wood Block54 Tambourine 77 Low Wood Block55 Splash Cymbal 78 Mute Cuca56 Cowbell 79 Open Cuca57 Crash Cymbal 2 80 Mute Triangle

81 Open Triangle

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What SVO doesSVO interface and controlsChange a channel voiceSave a modified styleYamaha style filesMIDI sectionCASM sectionOTS, MDB and MH sections

MIDI voice settings